The UK’s entry for Eurovision 2016 have seemingly terrible odds.
CREDIT: BBC
Joe and Jake may be cute, but their song isn’t doing it for the bookies as William Hill puts the duo’s odds of winning at 50 to 1. To make matters worse the book maker is giving odds of 8 to 1 to come last.
CREDIT: BBC
William Hill spokesman Rupert Adams said,
“Things are not looking good for the duo chances and we think they are unlikely to feel like having a selfie at the end of the competition,
Two young men were publicly hanged in a square in Mashhad, Iran on 19th July 2005. The new play Haram Iran tells this horrific story.
Ayaz Marhoni and Mahmoud Asgari were both teenage boys who liked to hang out together. But it was suspected that these two young men had a homosexual affair, though the true nature of their crime had never actually been confirmed. But they were publicly executed after being convicted on the trumped up charges of raping a 13-year old boy.
The Above the Stag theatre in Vauxhall has produced a play that re-enacts and tries to give credence and understanding to the story of these two young men, and their lives, and their execution. It’s an amazing and relevant play.
Ayaz (Viraj Juneja) and Mahmoud (Andrei Costin) play ball, study together and hang out at Ayaz’s house. They’re fast becoming good friends, enough so that it makes Fareed (Merch Husey) jealous. Mahmoud spends a lot of time at Ayaz’s house, in his bedroom, just hanging out. Ayaz is obsessed with books, books that his mother (Silvana Malmone) has illegally kept as she’s not allowed to have them because of Sharia law.
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Ayaz is most enraptured by The Catcher in the Rye, and he reads passages of the book to Mahmoud. Some of the passages are sexual, making the young men a bit turned on. One day Ayaz notices huge marks on Mahmoud’s back, caused by whippings inflicted on him by his father. Ayaz rubs oil on Mahmoud’s back, but it’s this act, witnessed by Fareed, which causes their downfall. Ayaz is initially charged with corrupting, and penetrating Mahmoud, is thrown in jail, and repeatedly raped by the prison guard (Fanos Xenofos). Eventually they are both charged with consensual homosexual acts and the judge (George Savvides) punishes them to death.
Haram Iran is a hugely important play that highlights the brutality and injustice that these two young innocent men endured in Iran. While not every scene in Haram Iran might not have actually taken place, what is fact is the murder at the hands of the Iranian government of these two young men.
Directed by Gene David Kirk with brutal and emotional intensity, Haram Iran was written by Lawyer Jay Paul Deratany, who happened to find the story online. And each member of the cast are excellent. Juneja and Costin are both very believable as Ayez and Mahmoud, young and innocent but punished nonetheless. Maimone as Ayaz’s mother is superb in her role. Xenofos is very scary (and a bit too believable) as the prison guard who shows no mercy, while and Savvides is downright cold, mean and heartless as the judge.
Haram Iran is a brutal yet delicate story of two young men who didn’t deserve to die because of who they were.
Haram Iran plays at Above The Stag until the 1st May 2016
If Adventure Time were to come up with an episode of Twelfth Night, what was seen last night, created by Filter theatre company, would be what you would see. A lunatic, ‘filter-less’, bold and a surprising production that literally got you on your feet playing with balls.
CREDIT: Pr Supplied
Nerves start to unsettle when one gets an invitation to watch ‘another’ production of Twelfth Night by William Shakespeare. But those were soon soothed when we walked in to The House of the Birmingham Repertory Theatre to come upon what looked like a set for a band. If one could sum up Filter’s creation, it would be: ‘A Shakespeare Rave’. My leg certainly didn’t stop bobbing up and down to the music.
The quadruple –threat cast multi- part and multi-instrument played with energy that was coming from the power sockets. Electric like no other. Harry Jardine, who played Orsino and Aguecheek must have got his muscles from the rehearsals, for he was continuously running, summersaulting switching characters so efficiently that one would get dizzy after a few blinks of an eye. Effortless performance and Harry still managed to speak in blank verse to an excellent standard. Ferdy Roberts, who redirected Twelfth Night alongside Oliver Dimsdale, played Malvolio to a degree of mastery. The ‘don’t-know-what-you’re-going-to-get’ type actor kept the audience on their toes, as Ferdy sauntered around as Malvolio capturing the danger of the character. At the same time, rocking out with his air guitar solo, and stripping off to his yellow stockings which capitalised the ‘b’ of bold. Dan Poole as Toby Belch was hilarious and had comedic timing down to a ‘t’. Olivia Darnley who played Olivia was funny and charming, and did formidably well in the scenes where she tried to seduce the male characters. All in all, everyone had an incredible talent that brought the show alive, ingredients of which have led me to see this as my favourite Twelfth Night production I have ever seen!
The highlight for me was when Harry as Aguecheek asked/made me get on stage with the rest of the cast. He did this because I missed his Velcro cap when throwing the ball at his head. So, Harry kindly allowed me another chance, but I missed again. In the end I had to wear a cap like his to which the audience were given balls to throw at us. I loved it! This tour should be a sell-out and where dates need to be bolted on for more to see!
Twelfth Night plays at The Birmingham Rep until the 16th April 2016, 0121 236 4455
Johnny is coming back to EastEnders on the 12th April, but he looks very different from the last time we saw him! Johnny has a new actor behind him!
The part of Johnny was originated by Sam Strike, who decided to leave the soap in December 2014.
He left the soap to make his name in Hollywood.
Speaking about his decision to leave Sam said,
“I also didn’t really feel like at the time my character was necessarily needed in EastEnders.
“When I was in talks about leaving, I spoke to the people that I’d been working with the most – including Dom, the executive producer, and the Carters. I said to them that if there was anything they really wanted me to do we’d do that, as I didn’t want to leave people high and dry.
Johnny Carter is not the first EastEnders’ character to be played by more than one person. In the past characters Lucy Beale, Martin Fowler and Sam Mitchell have all had actor changes in the past.
Tom – A story of Tom Jones tells the tale of the early days of the legendary singer and the struggle he faced as he moves from the green, green grass of home to the big city lights of London in search of his big break. Constantly supported by his wife, Linda, Tom struggles with self-doubt and frustration as he pursues his dream in this musical biography.
Photo Credit – Simon Gough
The show was presented nicely enough, with projected backdrops and some well-staged, if simplistic, musical numbers; all held together by a good vocal and physical performance from Kit Orton as the Welsh crooner. The songs were inconspicuously slotted in to the show, and flowed naturally within the story, rather than feeling shoehorned in; and the live band added both atmosphere and energy.
Despite this, the show just had too many flaws to allow it to hang together. The show is primarily narrative based, so those expecting a run through of Tom’s greatest hits will be disappointed. The songs were just too few and far between, and consisted primarily of a collection of cover versions of 60’s hits or songs which were not always instantly associated with Tom Jones by the casual observer. It’s only after the best part of two hours has passed does the show provide the songs which the audience most likely came to hear, and only then in a closing mini concert consisting of four or five numbers.
The show demonstrates the drive and ambition that is needed to succeed and the determination by both Tom and his wife Linda to hit the big time. Underneath it all, there is a story of self-belief and about paying your dues to achieve your ambitions, but the constant cycle of Tom threatening to quit and his wife urging him to keep going seemed to be on a perpetual loop, with all dramatic tension lost given that we all know he makes it in the end.
The problem with the show is not the performances, staging or direction, but rather the writing, which has a narrative which just doesn’t have enough about it to ever really drive the show forward. The show focusses on Tom, his relationship with his wife and his struggle to make it, but the reality is that this story is one which is just to too bland and repetitive to make the narrative interesting, especially when compared to other similar musicals such as Soul Sister – The Tina Turner Story, Jersey Boys or Buddy!. In a lifetime career of a legendary singer with so many highlights in it, it feels like a missed opportunity to restrict the story to the narrow focus of repeatedly gigging in working men’s clubs.
That said, the audience was packed full of Tom Jones fans, and there were more whoops and cheers from them than you can shake your pelvis at. The show clearly appealed to Tom’s dedicated fan base and they thoroughly enjoyed it. It’s a show which will no doubt thrill existing fans of the singer, but unfortunately is unlikely to have a much broader appeal than that.
Tom – The Story of Tom Jones – The Musical is currently at Sheffield Theatres until 16th April 2016 before continuing on its national tour until the 4th June 2016. Visit the show’s website for further details at www.tomthemusical.co.uk/
A middle-aged woman sits in a bar in a Tokyo hotel waiting for her husband; knocking back cocktails, sexually harassing the waiter and throwing out barbed comments. Her speech is unfiltered and whilst lyrical at times is also staccato and brutal at others. She sits well within the ranks of Tennessee Williams’ characters: a brittle yet beautiful monster who is bemoaning the onset of old age and so tightly coiled that an unravelling of some sort is inevitable. In short, she’s simultaneously a joy and a horror to watch.
Tennessee Williams’ late play “In the Bar of a Tokyo Hotel” was met with a hostile critical reaction when it was first staged in 1969 and has rarely been produced since. It’s a shame that this work has floundered out of sight, as there’s much merit to it, despite its flaws. Written at the start of his final descent into addiction and depression’ it’s an unusual play with absurd elements and strange patterns of speech. The characters are unsympathetic at times, the dialogue isn’t easy to follow and the interactions are surreal. Yet, it’s also a very funny play in parts and there are moving aspects to the scenario. As the play progresses it becomes easier to fall into the patterns of the dialogue.
Director Robert Chevara has bravely mounted this version and done so with aplomb. The movement and rhythm is perfectly captured in his use of a well-chosen cast and a stylish set. The great Linda Marlowe plays Miriam with spiky coolness and is pitch perfect. She careers round the vertiginously steep stage on heels like a terrifying Gorgon crushing everyone in her path yet flashing hints of her underlying vulnerability. Andrew Koji is desperately handsome as the deadpan barman, gritting his teeth as Miriam shamelessly fondles him. Alan Turkington puts over the waspish campness of Leonard with style. Yet beneath all this lies an imperfect play that just doesn’t quite rise to the occasion.
If you’re a fan of Williams’ work then this play is an interesting addition to the body of his work. Within the period piece hallucinatory style there are echoes of characters, themes and styles that will be familiar. If you’re a newcomer to his work then it’s still worth a try.
Even at his less than best Williams is a monumental writer and always worth revisiting.
A 65-year old man in great conflict makes a life changing decision in the new film ‘Boulevard.’
The late Robin Williams is bank branch manager Nolan Mack. He’s literally just going through life’s motions – working at a bank, with a longtime wife (Kathy Baker) and a very sick father in the hospital. Then one late evening after visiting his father, he drives through a derelict part of town and almost runs over a young man, Leo (Roberto Aguire), who turns out to be a male prostitute. Nolan checks to make sure Leo is fine, then out of the blue, invites him to go to a motel. This chance meeting opens up something inside Nolan who perhaps realised but didn’t accept that he has feelings for other men. While his relationship with Leo becomes more involved and more complicated, Nolan starts giving Leo money and starts acting like a surrogate father. Their relationship is not sexual but it’s intimate. Nolan tries and tries to his hide his encounters with Leo from his wife and his best friend Winston (Bob Odenkirk), but as Nolan becomes more and more involved and emotionally tied to Leo, his wife suspects that something is going on. But eventually Nolan comes to the realisation that Leo does not feel the same way about him, but at this point it appears that Leo’s life will never be the same again.
Williams gives a delicate performance as the lonely and subdued Nolan. He’s a man whose conflicted, despondent and depressed until Leo comes into his life. Shot in 2013 in Nashville, Tennessee, Williams would eventually hang himself a year later. This story of a lonely and depressed man is eerily parallel to William’s life. Baker, known mostly for her parts on television, is very good as Nolan’s wife, who knows her 40-year marriage is slipping away and there’s nothing she can do to about it.
Aguire more than holds his own against seasoned veteran Williams, their scenes together are both calm and gentle.
Director Dito Montiel (2013’s Empire State) does a great job in getting great performances from his cast, with a good script by Douglas Soesbe. But it’s Williams performance that will stay with you for a long time as it’s one of his last, ever.
11 Things You Need To Know About Boulevard – Robin Williams’ last ever film…
Posted by The Gay UK on Saturday, 9 April 2016
Absolutely Fabulous: The Movie reunites Jennifer Saunders and Joanna Lumley as the iconic Edina and Patsy along with the rest of the original cast that includes Julia Sawalha as Saffy, Jane Horrocks as Bubble and June Whitfield as Mother.
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The film opens in UK cinemas July 1st, US 22nd July and Australia 11th August.
Openly gay actor John Partridge is to make a return to EastEnders as the hunky Christian.
CREDIT: BBC
After his stint in Celebrity Big Brother, John Partridge it seems, is irresistible to TV execs who have reinstated Christian and his on-screen mother Lynda Baron in EastEnders.
Bosses are staying tight-lipped on the details surrounding their return, but the shocking storyline promises to change the Beale family forever.
Christian was last seen in the Square back in 2015 when he attended the wedding of Ian and Jane as part of the 30th anniversary live week.
On his return, John Partridge said:
“I am thrilled to be able to return to EastEnders whilst touring the UK with Chicago… Christian is never far from my mind – I turn my back for five minutes and look what happens!”
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Christian’s character has in the past caused considerable controversy with some viewers of the long running London-based soap. In late 2008, 145 complaints were made after a kiss between Christian and new love interest Lee was broadcast before the 9PM watershed.
Episodes featuring John Partridge are set to air in Summer 2016.
